Phraseologisms in children's literature examples. Examples of phraseological units with explanation and their meaning. The use of phraseological units in our life

Writers turn to the phraseological wealth of their native language as an inexhaustible source of speech expression. In artistic and publicistic speech, phraseological units are often used in their usual phraseological form with their inherent meaning. The introduction of phraseological units into the text is due to the desire of the authors to enhance the expressive coloring of speech. For example: "" "" Volga "" together with its dashing drivers, as if fell through the ground "". (From the newspaper). The imagery inherent in phraseological units enlivens the narrative, gives it a playful, ironic coloring.

Humorists and satirists are especially fond of using phraseological units; they value colloquial, stylistically reduced phraseology, often resorting to mixing styles to create a comic effect: "" ... Grounded and let's poke your nose into every crack. Oh, and he is a master of intrigue ... "" (From the newspaper).

A striking stylistic effect is created by the parodic use of book phraseological units, which are often used in combination with stylistic lexico-phraseological means: "" ... called to give a hand to the miners of black gold, the miners of green got loose ... "" (From the newspaper).

It is important to emphasize that in all these cases, phraseological units are used in their traditional linguistic form with their inherent, well-known meaning.

The very nature of phraseological units, which have a clear imagery, stylistic coloring, creates the preconditions for their use in expressive and, above all, in artistic and publicistic speech. At the same time, the writer does not introduce anything fundamentally new in the use of phraseological units, he draws expression from a ready-made national source.

The aesthetic role of phraseological means is determined by the imagery and emotionality inherent in them, as well as the author's ability to select the necessary material and introduce it into the text. This use of phraseological units enriches speech, serves as an "antidote" "against speech stamps.

However, the possibilities of using phraseological units are much wider than their simple reproduction in speech.

The phraseological richness of the language comes to life under the pen of talented writers and publicists and becomes a source of new artistic images, jokes, and unexpected puns. Artists of the word can treat phraseologists and as with "raw materials", which is subject to "creative processing" ".

As a result of the phraseological innovation of writers and publicists, original verbal images emerge, based on "" played out "" stable expressions. The creative processing of phraseological units gives them a new expressive color, enhancing their expressiveness. Most often, writers transform phraseological units that have a high degree of lexical stability and perform an expressive function in speech. At the same time, the changed phraseological units preserve the artistic dignity of the national ones - imagery, aphorism, rhythmic and melodic order.

Often phraseological units are introduced into the text without changing their meaning and form. In this case, the authors use the absolute expressive means of Russian phraseology - imagery, expressiveness, emotionality.

Journalists often use phraseological units in different synonyms. A favorite technique - gradation - stylist. The figure is a component in such an arrangement of words and phrases, in which each subsequent one contains an intensifying meaning or emotionally expressive meaning, due to which a growing impression is created by a word or a phrase. For example: slander, talk nonsense, mixes with fables. (Ryabchikov).

An effective method of introducing phraseological units into a text is an antithesis, that is, using them in an antonymic row, for example: "" The point is not which side to go, but where to go and what - in the pledged carriage of the past or the locomotive of the future. " formed on the basis: "" in the carriage of the past you will not go anywhere "". Bitter "" At the bottom "". The opposition is built on the antonymy of the words "past" and "future".

The brightest and most effective method is the use of opposites. Two antonymous stable phrases, that is, phraseological units with the opposite meaning. For example: "" It takes such a tight budget to bring England to its knees, "says Jackinson.

When introducing stylistically contrasting phraseological units into the text, the following cases are possible:

Stylistic contrast of two or more phraseological units;

Stylistic contrast of phraseological units and phrasal environment;

Stylistic contrast of phraseological unit and the word introduced into it;

Stylistic contrast when replacing a word, as part of a phraseological unit.

For example: "" But having exposed the secrets of the Madrid court, Obolensky overlooked what was happening under his very nose. " here the use of the book phraseological phrase: "" the secrets of the Madrid court "" and the colloquial phraseological word: "" under the very nose "".

One of the techniques of the comic is a stylistic contrast created by the combination in a narrow context of bookish catchwords and officially business clerical words. One of the kind of stylistic contrast is the combination of outdated words and colloquial phraseology. For example: "" A year later, the auditors were surprised to find that Matar managed to break more wood in his new career than before. The description of his new deeds barely fits into 20 pages of the act "". (Prokhorov).

An even better means of creating a comic is stylistic antonymy, built on the opposition of vernacular and gentle coloring of phraseological units included in the context.

For example: "" America learned that her hero jumped out of the window in which his mother gave birth to her armored car. " (Bolshakov).

The sharpest stylistic contrast arises when jargon phraseological units and words of purely book lexicon are combined in a narrow context. This technique is widely used in an international feuilleton, allowing authors to sharply express their attitude towards negative characters. For example: "" For Ruth, his father's trip could have had a pleasant effect if Tarvi stopped pulling the rubber. " (Shatrov).

Phraseological units have potential expressive qualities, which allows writers to creatively process different aspects of phraseological units: meaning, form (lexical state, morphological and syntactic structures), compatibility with other words, and the like. Most often, phraseological units undergo individually stylistic processing, which is easily explained by their metaphorical nature. With such processing, there is a punning combination of phraseological units and the corresponding free phrase; for example: "" She makes an elephant out of a fly and then sells an ivory. " (Malenovsky).

The context is very important for both the creation of the pun and for its perception by the reader. Sometimes authors create detailed pictures based on the simultaneous perception of a connected and free combination of words, as part of a phraseological phrase.

Very often, writers resort to changing the structure of the phraseological turnover, spreading its sentences related to a particular word in stable phrases. For example: "" You gradually saturate the hardened individualists with energy and it can no longer be said that one grave will correct the socially rich. " (M. Gorky). This allows you to concretize the generalized, broad meaning of the phraseological unit, apply it to a specific situation. For example: Mark led a golden calf, and a grown-up bull, to strike with a class war. (Mayakovsky).

The opposite method is to reduce the phraseological turnover. But since it is one of the common ones, the reader can easily fill in the missing part. For example: "" Your Sobakevich is a maid and a footman in tight-knit gloves. " (Chekhov).

One of the ways of individually styling phraseological units is to replace one of the words that make up a stable phrase with another word. For example, Saltykov - Shchedrin for satirical purposes creates a master of bloodsucking for satirical purposes: "" ... Your torment, about the master's bloodsucking and bloodsucking deeds, is universal torture that knows no bounds. "

An interesting technique is the antonymic replacement of words in the structure of a phraseological combination, for example: "" In the bad old days, a seedy noble family lived in this building. " (Ryabchikov).

The most radical method of processing phraseology is its change, which leads to the creation of essentially a new phrase based on the existing one, for example, on the basis of the phraseological unit "shoulder to shoulder" was created "wing to wing". this author's neologism is motivated by context.

The author can express his attitude to the fact by replacing a neutral word in the phraseological unit with its emotionally colored synonym, for example, "lay hands on", Zorin replaced the neutral words "hand" with the vernacular, emotionally saturated "paw", thus strengthening the evaluativeness phraseological turnover.

Sometimes writers use more complex techniques for processing phraseological units; for example: "" We are a bit early to sleep on cheap laurels, we still live on the advances of readers, worked out by us "". (M. Gorky). Here the phraseologism "" regale on laurels "" (satisfied with the achieved success) has been changed. The introduction of the word "cheap" "leads to the perception of this phraseological unit in a specific literal sense. And the introduction of "to snooze" (instead of the high "to regale") gives a bright negative emotional and expressive coloring.

One of the methods of creating a comic effect is a collision in the text of words and a phraseological combination, which has the same word in its composition, for example: Often the throne is occupied by kings "" without a king in the head. " (Ryabchikov).

The actual method of creating a comic is when a word is extracted from the composition of a stable circulation, then serves to create the author's neologisms. The humorous sounding is based on the collision of a word that has a phraseologically related meaning with its synonym in free use, for example: "" Indeed, if you think about it, then with a cute paradise and in a hut ... But with a sweet paradise in a hut, comrades, it is possible if a dear in a hut registered and entered in the hut book ... "" (Ilf and Petrov). Here feuilletonists form the neologism "hut book" by analogy with the word "house book".

An effective pun is built on the use of two phraseological units that have a common word in their composition. The convergence of identical words included in different phraseological turns is a vivid means of creating a comic, for example: "" ... Both in Chicago and Atlantic City, young people were cleared of falsehood, burned bridges behind them and refused to worship what they burned. " here is the use of the stable phrase "" to burn bridges behind oneself "" and the catch phrase "" And I burned everything that I worshiped, I worshiped what I burned. " (from a poem by Turgenev, an attachment to Mikhalevich's mouth - the protagonist of "The Noble Nest").

Stable combinations have existed in the history of the language for a long time. Already in the eighteenth century, examples of phraseological units with an explanation could be found in collections of idioms, catchphrases, aphorisms, proverbs, although the lexical composition of the language had not yet been studied so closely. It was only with the advent of V.V. Vinogradov in science that the basis for the comprehensive study of stable phrases appeared. It was he who laid the foundation for the development of phraseology and called it a linguistic discipline.

The well-known linguist N.M. Shansk phraseological turnover presented as a fixed unit of language, reproduced in finished form and having two or more stressed components of a word character. In addition to lexical indivisibility, phraseological units also have a lexical meaning, they are often synonyms of words. As an example: "the right hand is a helper", "bite your tongue - shut up."

The use of phraseological units in Russian, examples with explanation

We use a variety of phraseological turns in our native speech imperceptibly for ourselves, due to the fact that they have become habitual since childhood. The most famous came to us from fairy tales, epics, folk legends, some from foreign languages. The original Russian can be attributed to a kind of combination, found only in our native language and reflecting the Russian way of life, traditions and culture. Let's try to understand the meaning with the following example and explanation. Bread was considered the main product in Russia - it managed to become a symbol of prosperity, good earnings. Therefore, the phraseological units: "to beat someone's bread" or "to eat bread for free" are understandable only to Russian people.

Metamorphism and imagery are the main criteria of Russian phraseological units. It is the nationality inherent in the native language that allows you to understand stable phrases not at the level of speech, but at the level of the language model, which you absorb with mother's milk. Even outdated phrases, the meaning of which has been forgotten, become understandable to us and those close to us due to their imagery. Below we will look at common examples of phraseological units with an explanation and their meaning.

Book and literary

The sphere of use of literary speech is much narrower than colloquial or interstyle. Book phraseological units are used mainly in written sources and give a certain shade of solemnity, exaltation, and formality of action. Examples, explanations and meaning of book phraseological units are below:

• - not to allow the case to be postponed for an indefinite period. Woolen cloth is meant by cloth, which used to cover the writing desk. If any paper or folder fell under the cloth, then it remained unsigned and did not go to work.
• "Raise to the shield" - that is, to show honor, to respond with praise about someone. As an example, the winners in the old days were literally raised on a shield and carried high so that everyone could see and thank them.
• "Write - it's gone." This is how they talk about a business that is obviously impossible to do due to the absence of certain conditions. In the nineteenth century, officials wrote in the expense book items on the receipt and consumption of goods. The embezzlers usually ordered their clerk to make a record of the loss of goods precisely with the words "Write - lost." At the same time, the loss itself was appropriated to themselves.
• "Was there a boy?" - in this way, extreme doubt about something is now expressed. The phraseological unit came from the novel by M. Gorky "The Life of Klim Smagin", which describes a scene of children skating. When the guys fall under the water, the girl is saved by Klim first. Then he throws his belt to the boy, but, afraid that he might drown himself, he lets it go. While searching for a drowned child, Klim hears a voice saying the phrase: "Was there a boy, maybe there was no boy?"
• "Kissy young lady" - speak so dismissively of a pampered girl who is absolutely not adapted to life. The turnover is taken from the story of N. G. Pomyalovsky "Meshchanskoe happiness".
• "Bearish corner" - a remote settlement, backwoods. For the first time, the expression was used by P.I. Melnikov-Pechersky in the novel of the same name about one of the distant towns of Russia.
• "Touch the inner core" - another book phraseological unit, the history of which goes back to the times when slaves were branded. Cauterization was a wild pain, especially when touching a healing wound. This turnover becomes relevant when the conversation touches on topics that cause mental anguish in the interlocutor.
• "Scapegoat" - the one on whom the responsibility for someone else's fault is shifted. The phrase refers to literary phraseological units and has an ancient origin. The biblical tradition speaks of the ritual of forgiveness. The priest laid his hand on an ordinary goat, as if transferring sins from man to animal, which was later driven out into the desert.
• "Like water off a duck's back" - nothing at all. The plumage of the goose is covered with a special lubricant that does not allow the bird to get wet. Water does not wet the wings of a goose. Thanks to this fat, it stays dry.

Examples of colloquial and borrowed phraseological units

Colloquial phraseological units are firmly entrenched in our speech. They are convenient to convey a thought to the interlocutor, especially when ordinary words are not enough for the emotional coloring of the phrase. Borrowed phraseological units are tracing-paper and half-calques taken from other languages \u200b\u200bby literal translation of sayings. There are phraseological units that simply correlate in meaning with stable expressions in other languages. Examples of them: "white crow" sounds in English like "rare bird", and the expression "hang by a thread" is replaced by the combination "hang by a thread". Other examples of phraseological units with explanations and meaning:

• "First among equals" - that is, the best or the leader. Borrowed from the Latin "Primus inter pare", which is literally translated. This title was borne by Emperor Augustus even before accepting his high title. Thus, his prestige was maintained.
• "A good (funny) mine with a bad game" - that is, hide your experiences and failures behind an external imperturbable look. At the same time "mine" - from the old Breton language is translated literally as "facial expression".
• "What is permitted to Jupiter is not permitted to a bull." The phrase was first pronounced by Publius Terentius Afrom. It is used when it is necessary to suppress unfounded claims, indicating to the disputant his lower position.
• "Eat a pound of salt" - a common colloquial phraseological unit. This is an example of a long life together. In the system of measures, poods are equated to 16 kg. To consume this amount of salt requires living together for a long time, during which people learn almost everything about each other.
• "There is nothing for the soul" - so it is customary to talk about a poor person. According to popular beliefs, the human soul was located in a dimple in the neck. In the old days, it was also customary to store money and jewelry there. If there was nothing to hide in the dimple, then it was believed that there was nothing “behind the soul”.
• - that is, a light snack. The expression is a tracing paper from the French "tuer le ver", which has a literal translation - "drink a glass of alcohol on an empty stomach." It was assumed that alcohol, taken with a minimal snack, destroyed the worms in the body.
• "The reins got under the tail" - colloquial phraseological unit denoting the rash actions of someone. The expression was once used in the literal sense, and not figuratively, in relation to horses, in which, falling under the tail of the reins, caused pain and forced them to perform thoughtless actions.
• "Nick down" - remember once and for all. In the old days, illiterate people carried tablets with them everywhere, on which they made memorial notes with notches. The "nose" in this case is not an organ of smell, but a wearable thing.

Medical and other professional expressions with explanation

Some phraseological units are taken from the oral speech of people of various kinds of professions. These include the following sentences with phraseological units:

• "Shoemaker's Chest" - a medical term that has its own meaning and explanation. This is the name of the funnel chest. The lower part of the sternum in shoemakers, due to professional activity, is depressed inward, due to which the volume of the chest is significantly reduced.
• - so they say about unproductive work. As an example: in the old days, a pharmacist wrote just such a recipe right on the bottles with the potion. This meant that treatment should be carried out slowly in order to have time to respond to the appearance of allergic manifestations in time. If for a patient this approach is quite justified, then for a working person it is an indicator of laziness and indecision.
• "Speak your teeth" - distract from the pressing problem with extraneous conversations. Unlike dentists, healers know how to eliminate pain for a while with conspiracies. At the same time, they do not treat the teeth themselves, and the problem remains unresolved.
• "Sit in the liver" - get bored, poison life. In ancient Russia, the liver was considered a repository of human life force. It was believed that a person who interferes with life takes free energy, and, therefore, sits in the liver and directly draws other people's strength from there.
• "Holding breath" - that is, carefully, not missing even the little things. In medicine, in order to illuminate the chest for a correct diagnosis, you need to hold your breath for a few minutes. It is believed that a person holding his breath will receive the highest quality result.
• "Roll up your sleeves" - to act diligently and energetically, while not sparing their own strength. If you remember, in the old days it was customary to wear clothes with long sleeves - for some, the length reached 95 cm. It was impossible to work in such clothes. To do something useful, you had to first roll up your sleeves, after which the matter was argued much faster.
• "Down the sleeves" - lazily, slowly, without the proper enthusiasm. This phraseological unit exists in contrast to the previous one and has a similar explanation. That is, the deflated long sleeves did not allow the job to be done properly.
• "Wait for the weather by the sea" - to be inactive, to expect that the situation will resolve itself. This term came from the speech of sailors, who, before going fishing, always watched the weather and waited for a favorable period so as not to get into a storm.

Stable and neutral phrases and their meaning

Unlike colloquial phrases that are more figurative, phrases that do not have an emotional connotation are considered neutral. Examples of such phraseological units with an explanation and their meaning:

• "Doesn't find a place for himself" - that is, worried. So they say about a person who is in a state of intense anxiety about someone.
• "Without straightening the back" - means, hard and persistent work. So they talked about the plowmen who worked in the field from morning to night.
• - torment with requests and conversations about the same thing.
• "To lose heart" - completely lose faith in their own abilities.
• "Looking at night" - that is, before dark, when public transport is no longer running and the risk of becoming a victim of bad circumstances increases. In addition, there are many examples that a person will not have time to do anything significant late in the evening, since the daytime resources of the body are exhausted.
• "Stay with the nose" or fail. Examples of the use of the expression: when someone allows themselves to be fooled, they do not get what they expected. In the old days, the word "nose" meant a bow with an offering. "Nose" - that is, "brought". The rich usually came to officials with money, the poor carried a pig, chicken, eggs. The clerks for the offerings made decisions in favor of the one who brought the gifts. It was a bad sign that the official did not accept the "nose" if he was too modest. At the same time, the one who asked remained with his gift, that is, “with a nose” and did not receive what he wanted.
• "To wash the bones" - that is, gossip, slander, analyze the actions of another person. It was once believed that a sinner with a curse hanging over him could come out of the grave in the form of a ghoul. To save him from the spell, it was required to excavate the grave and wash the bones with clean water.

In the above examples, we see that the appropriate use of phraseological units saturates our speech, allows us to make communication emotionally rich and interesting. Sentences with phraseological units add a "zest" to the conversation and are perceived by everyone as a completely natural element of speech that enhances its meaning.

Regional conference of educational research projects

schoolchildren "EUREKA, JUNIOR"

The use of phraseological units in fiction for children

Educational research project

Krasnodar

2011
TABLE OF CONTENTS

Introduction

"People stop thinking when they stop reading"

D. Diderot

Books are an integral part of our life. Since ancient times, they have been considered a source of knowledge. Reading is an opportunity to increase your knowledge of the world around you, broaden your horizons and enrich your vocabulary.

I really love to read. I read a lot and enjoy it. I like works of different genres, but I especially love fairy tales. Reading the Russian folk tale, "The Fox and the Crane", I discovered an interesting expression: "I was eating too much", the meaning of which was not clear to me. Then I turned to the teacher with a request to tell me about this expression. Oksana Nikolaevna explained to me that these are stable combinations of words that have come to us from time immemorial and are called phraseological units. That every day we meet with various catchphrases, but we cannot always determine that in this case we are dealing with phraseological units, and even more so we cannot always determine their meaning. As it turned out, phraseological units have surrounded us since childhood.

It became interesting to me if phraseological units are found only in folk tales or writers also use catch phrases in their works.

And then I decided to study in more detail the phraseological units in fiction for children. And also to find out whether my peers know phraseological units and whether they can explain their meaning.

The topic of my research is the use of phraseological units in fiction for children.

I believe that this topic will be relevant at all times, since knowledge of the native language, its wealth is necessary for everyone.

Perhaps my research has no scientific value, but I have made many discoveries for myself.

What are phraseological units?

Phraseologisms are called stable combinations of words, turns of speech such as: "beat the thumbs up", "hang up your nose", "give a headwash." But unlike ordinary word combinations, consisting of separate words, each of which has its own meaning, phraseological units are not free, but connected combinations. They are not produced, that is, they are not invented by the speaker in the process of communication, but are reproduced: if the speaker needs to use a phraseological unit, then he extracts it from the reserves of his memory, and does not build it anew.

Another important property of phraseological units: the meaning of each of them does not consist of the meanings of the words included in it. So, eat the dog means "to be a master in some business"; the proper meanings of the words eat and the dog play no role here.

Phraseologisms exist throughout the history of the language. Already from the end of the 18th century, they were explained in special collections and explanatory dictionaries under various names (catchphrases, stable combinations of words, aphorisms, proverbs and sayings). The phraseological units contain the centuries-old experience of the people, which is passed on from generation to generation.

A very important feature of phraseological units is their imagery, brightness, emotionality. Using phraseological units, the speaker not only names an object, phenomenon, but also expresses his feelings, his attitude, gives his assessment. Very often phraseological units are used in the speech of the heroes of children's works, making their speech more emotional.

The history of the emergence of phraseological units

By origin, some phraseological units are actually Russian, others are borrowed.

Most of the phraseological units are of primordial Russian origin. The main source of Russian phraseology is free phrases, which, when used in a figurative sense, become phraseological units. Phraseologisms can be divided into groups.

First group - these are phraseological units that originated from the depths of centuries, the lives of our ancestors and are based on oral folk art:

Bang

Take on a pencil

Without a king in your head

They do not look at a given horse's teeth

Hold a stone in your bosom

Share the skin of an unkilled bear

Go to Tula with your samovar

Speak teeth

How to look into the water.

As in the spirit

Slanting fathom in the shoulders

The thief's hat is on fire

Unsolonally slurping

Break a leg

Wash the bones

Put on the back burner

Take at face value

Have a finger in the pie

Simpler than a steamed turnip

The center of the world

Pull the wool over someone's eyes

Put everything on the shelves

One spit

Seventh water on jelly

Seven spans in the forehead

Seven Fridays a week

Dog eat

Grated roll

Pip on tongue

Sharpen the fringes

Black cat ran

Second group phraseological units are combinations that came from the Bible:

Babel

Voice in the wilderness

the Forbidden fruit

Jericho Trumpet

Stumbling block

Leave no stone unturned

Scapegoat

Manna from heaven

Carry your cross

The lost sheep

Separate the tares from the grains

Sprinkle the head with ashes

Solomon solution

Salt of the earth

Crown of thorns

The first swallow

doubting Thomas

Third group phraseological units, combinations that came from myths and events of world history:

Augean stables

Achilles' heel

Diogenes barrel

Draconian measures

Sword of Damocles

Sphinx riddle

Like a stone wall

How did Mamai go

Chinese Wall

All over Ivanovskaya

Ariadne's thread

Newtonian apple

Embrace Morpheus

Olympian calm

Discover America

Potemkin villages

Run like a red thread

Panic fear

Rest on laurels

Fall through the ground

Promethean fire

Cornucopia

Native Penates

Sisyphean labor

Tantalum flour

At least burst!

Apple of discord

Fourth group phraseological units, expressions used in a certain context, but which have become popular and, therefore, are repeatedly reproduced in speech. Most often, these are phraseological units that came from works of authorship:

1) from the works of A.S. Pushkin

Broken trough

Beleny overeat

2) from fables:

And Vaska listens and eats

And the little casket just opened

In borrowed plumes

Yes, only things are still there

Demyanov's ear

Monkey labor

There is no beast stronger than a cat

Trishkin caftan

The use of phraseological units in artistic

literature for children

I have read and studied various works of fiction for children. Having studied them, I made the following conclusions:

The use of phraseological units in Russian - folk tales:

	Title of the work	Discovered phraseological units	Number of phraseological units
	"In the forehead the sun, on the back of the head a month, on the sides of the star"	Soul to soul
	"The Fox and the Wolf"	Ran off
	"The Fox and the Crane"	Unsolonally slurping
	"Go there - I don't know where, bring that - I don't know what"	Served faithfully
	"Ivan Tsarevich and the Grey Wolf"	He took off on his heels. The eye did not close. Around the world. In the distant kingdom, in the thirty-ninth state. Serve faithfully. With empty hands. Living and dead water.
Total fairy tales read: 5	Total phraseological units met: 11

		Title of the work	Discovered phraseological units	Number of phraseological units
		"Old Man Hottabych"	Fresh head As it sank into the water
		"Golden Hair"	Gouge out your eyes
	Yu. Sotnik	"Swimming teacher"	Cats scratching their hearts
	E. Uspensky	"Aunt Uncle Fyodor, or Escape from Prostokvashino"	We live in perfect harmony
	Y. Koval	"The journey of Vasya Kurolesov"	Money doesn't smell Grated roll Shooting sparrow
Total reads: 5	Total phraseological units met: 8

When examining the table, it can be seen that the largest number of phraseological units is found in Russian folk tales. This is due to their close relationship with oral folk art, life and everyday life of the people.

But in modern works for children, you can also find stable combinations of words. Many famous writers use phraseological units even in short stories.

The use of phraseological units by students

primary school

Having studied works of art for children, I found out that phraseological units are encountered quite often in them. Then I wondered if my peers knew the meaning of phraseological units and whether they use phraseological units in their speech. To identify the question of interest to me, a survey was conducted among primary school students. Students of the third and fourth grades took part in the survey.

Below is the text of the questionnaire:

Application form

Part I

1. Do you know what a phraseological unit is?

B) I don't remember

2. Do you use phraseological units in your speech?

A) Yes, often

B) Yes, but rarely

C) I don't use at all

3. Do you often come across phraseological units in various books?

C) I don't read books

Part II

4 .Add phraseological units by selecting the desired word

A) Make from ... an elephant (mosquito, fly)

B) Not in your ... (cup, plate)

5 .... Explain the meaning of phraseological units in one word

A) Get exhausted

B) Keep your mouth shut

C) Sit back

6 . Underline phraseological units in sentences

A) I no longer intend to throw words to the wind

B) Masha knew this area like the back of her hand

Working process:

I offered the children a task on individual cards. They needed to underline or write the correct answer.

Instructions:

Guys, there are pieces of paper in front of you with tasks. You need to carefully read each task and underline the correct answers, and where necessary, then enter.

Interpretation:

When processing answers to questions from Part I, a 2-point assessment system was used. Each answer A corresponds to 2 points, answer B - 1 point, answer C - 0 points.

When processing the answers to the questions of Part II, 1 point is given for the correct answer in each point, 0 points for the wrong one.

Evaluation criteria:

High level (14-10 points) – the student is familiar with phraseological units,

understands their meaning, uses them in his speech.

Intermediate (9-6) - the student is not well acquainted with phraseological units, knows some examples of phraseological units, but does not always understand their meaning, very rarely uses it in his speech.

Low level (5 or less) - the student knows almost nothing about phraseological units, does not understand their meaning, does not use it in speech.

https://pandia.ru/text/80/023/images/image002_161.gif "width \u003d" 39 "height \u003d" 69 src \u003d "\u003e It can be seen from the data in the diagram that despite the fact that winged expressions are quite common in children's works, not all children know what phraseological units are, understand their meaning, and even more so use them in their speech.

Short withlover of phraseological units

After doing my research, I decided to compile a phraseological dictionary. And I included in it the phraseological units that I encountered during my work in works of art for children.

MONEY DOESN'T SMELL

SOUL TO SOUL - very amicably, in agreement.

EYE WAS NOT BLINDING

LIVING WATER

LIKE A WATER CANAL - disappeared without a trace

CATS SCRAPE ON THE HEART - very anxious, restless

NESOLONO BREADS

BY WHITE LIGHT- around the world, around the world

LET'S GO

ON A FRESH HEAD

SERVE BY FAITH AND TRUTH - serve honestly, faithfully

WITH EMPTY HANDS

SHOOTING SPARROW - a very experienced person who is difficult to deceive,

conduct

GREAT ROLL

Conclusion

After conducting the research, I found out that phraseological units have surrounded us since childhood, since they are found in many works for children, and especially often in Russian folk tales. After conducting a survey, I concluded: not all children in elementary school have an idea of \u200b\u200bwhat phraseological units are, and even more so they cannot explain their meaning. Quite a few of my peers use phraseological units in their speech. I believe that this is due to the fact that phraseological units are purposefully not studied at school. I hope that my research has helped the guys see the richness and variety of phraseological units, their versatility and depth.

It is necessary to pay more attention to the study of phraseological units, because thanks to them the vocabulary increases, speech becomes more figurative, vivid and emotional.

application

Phraseological dictionary in pictures

MONEY DOESN'T SMELL - any methods of making money are good

SOUL TO SOUL - very amicably, in agreement.

EYE WAS NOT BLINDING - did not sleep for a long time, watched something

LIVING WATER - elixir of life; everything that gives a person strength and life

LIKE A WATER CANAL - disappeared without a trace

CATS SCRAPE ON THE HEART - very anxious, restless

NESOLONO BREADS - to be deceived in their expectations, hopes

BY WHITE LIGHT- around the world, around the world

LET'S GO - run away, run very fast

ON A FRESH HEAD - with renewed vigor, with pure thoughts

SERVE BY FAITH AND TRUTH - serve honestly, faithfully

WITH EMPTY HANDS - having received nothing, having nothing with you

SHOOTING SPARROW - a very experienced person who is difficult to deceive, cheat

GREAT ROLL - a very experienced person, a specialist in his field

USED \u200b\u200bBOOKS

Russian tales. Epics. Collection. M. 1993. Russian folk tales. M. 2009. V. Lagin "Old Man Hotabych" Ed. Makhaon 2010. P. Bazhov “Ural Tales” M. 2005. Yu. Sotnik “Swimming Teacher” M. 1987. E. Uspensky “Uncle Fyodor's Aunt or Escape from Prostokvashino” M. 2010. Yu. Koval “Vasya Kurolesov's Journey” ed ... Machaon 2010. "Big phraseological dictionary for children" ed. Olma-press 2008. Phraseological dictionary. Comp. ... ed. Eksmo 2011.

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Introduction

Conclusion

List of sources used

Introduction

“His name will remain in history not only as the name of the greatest pamphleteer Russia has ever known, but also as the name of a great citizen who gave neither mercy nor rest to the oppressors of thought. Shchedrin really lived only in his own time, but how well Goethe said: "He who lived for his time, he lived for all times," wrote Sofya Kovalevskaya about Saltykov-Shchedrin.

Oddly enough, on the one hand, M.E. Saltykov-Shchedrin is still an almost completely unexplored writer, so unexamined that there is not even a complete bibliography of his works. The only and richest repository of Saltykov's manuscripts is the Pushkin House at the Academy of Sciences. But there are unexplored archival materials in other depositories, and abundant magazine and newspaper deposits of "Saltykoviana" have survived, the excavation of which has hardly begun yet.

On the other hand, philologists began to study the phraseology of the Russian language for a long time. Many works have been written, including special ones, in which certain issues of the philology of the Russian language are solved. Interesting and directly related to the history of the formation of a certain understanding of phraseological units and ideas about the volume and composition of phraseological units of the Russian language are the works of I.I. Sreznevsky, the teachings of F.F. Fortunatova, A.A. Shakhmatov, which was continued and developed by D.N. Ushakov and V.K. Porzhezinsky, articles by V.V. Vinogradova, L.V. Shcherba, the work of B.A. Larina, S.I. Ozhegov and others.

Everyday speech does not include the entire arsenal of expressive means available in the Russian language, which affects its quality. The correct application of these artistic means is necessary, since their inappropriate or incorrect use makes speech not only meager, but also stylistically illiterate.

Phraseologisms enliven and decorate both oral speech and literary works. Skillfully used the colloquial phraseology of I.A. Krylov. There are many Russian phraseological units in the works of A.S. Pushkina N.V. Gogol, N.S. Leskov, L.N. Tolstoy, M.E. Saltykov-Shchedrin, A.P. Chekhov.

It seems relevant to turn to the topic - the analysis of the features of such an expressive means as phraseological units in M.A. Saltykov-Shchedrin

The aim of the study is to analyze the use of phraseological units in M.E. Saltykov-Shchedrin. The purpose of the study determined the formulation of the following tasks: from a theoretical point of view, to give the concept of "phraseological unit" and their sources in the Russian language and literature; the use of phraseological units in literature, including their use as a stylistic means at different stages of the development of Russian literature, describe the life and career of Saltykov-Shchedrin, analyze the use of phraseological units in the writer's prose.

The methodological basis of the study is the works of M.E. Saltykov-Shchedrin, as well as the works of A.S. Bushmin, V.I. Kuleshova, A. Kvyatkovsky, N.N. Kycheva and others.

The main research methods are descriptive-analytical and differential methods.

The work consists of an introduction, two chapters, a conclusion, a list of sources used.

1. Phraseologisms and their role in literature

1.1 The concept of "phraseological unit" and sources of phraseological units

In modern linguistics, there is no consensus on the essence and definition of the phraseological turnover as a linguistic unit. There are theoretical disagreements about the volume of phraseology and the nature of linguistic facts, interpreted as phraseological units. The importance of accurately determining the phraseological turnover is evidenced by the lexicographic practice, when in dictionaries ordinary phrases are given as phraseological units (feeling of elbowing, military action, take your hands, for nothing, etc.) and words (on the move, in general, no, no, no hand, on ointment, etc.).

The definition of the general nature of phraseological units was given by S. Bally: "combinations that have become firmly established in the language are called phraseological turns." Researchers V.L. Arkhangelsky, S.G. Gavrin, V.N. Telia define a phraseological unit as a linguistic unit, which is characterized by such secondary features as metaphor, equivalence and synonymy to the word. V.V. Vinogradov put forward as the most essential feature of the phraseological turnover its equivalence and synonymy to the word. Telia V.N. Priority tasks and methodological problems of the study of the phraseological composition of the language in the context of culture // Phraseology in the context of culture. - M., 1999. - S. 13. But, according to N.M. Shansky, metaphoricity is also inherent in many words, and equivalence is not in all stable combinations. Therefore, the inclusion of these secondary and dependent features in the definition of phraseological unit is not entirely correct. The scientist emphasized that "the correct definition of a phraseological unit is impossible without taking into account its differences from the word and free combination."

In his work "Phraseology of the Modern Russian Language" Shansky gives the following definition: "Phraseological turnover is a linguistic unit reproduced in finished form, consisting of two or more stressed components of a word character, fixed (i.e. constant) in meaning, composition and structure ". The linguist believes that the main property of the phraseological turnover is its reproducibility, since "phraseological units are not created in the process of communication, but are reproduced as ready-made integral units." So, the phraseological units "beyond the distant lands", "the trace is cold", "there is nothing to cover", etc. are extracted from memory entirely. Phraseological units are characterized by their reproducibility in finished form with a fixed and strictly fixed integral meaning, composition and structure. Shansky N.M. Phraseology of the modern Russian language / N.M. Shansky. - M .: Higher school, 1985. - p. 27.

Phraseologisms are significant linguistic units, which are characterized by their own meaning, independent of the meanings of their constituent components. Phraseological turnover consists of the same components, located one after another in a strictly established order. In some phraseological phrases, a different arrangement of components is noted: to burn out of shame - to burn out of shame, to pull a bagpipe - to pull a bagpipe, but in such phraseological units the location of the words forming them is fixed in two equally possible variant forms. Phraseologisms are distinguished by the impenetrability of the structure.

The bulk of phraseological units appears in the form of integral linguistic units, insertions into which are usually impossible (from young to old, in the prime of life, in seventh heaven, it's in the bag, etc.). For some phraseological units, the components are separated by a distance ("You literally can't see anything", "What a scolding dad gave him today!").

N.M. Shansky considered the differences between phraseological turns of phrase and free phrases. Phraseological phrases are distinguished by reproducibility, integrity of meaning, stability of composition and structure, and, as a rule, impermeability of the structure. The differences between phraseological turns of words, as the scientist believed, are as follows: words consist of elementary significant units of the language, morphemes, and phraseological units - of components of a word nature, words act as grammatically uniform formations, and phraseological units are grammatically separate formations. Thus, phraseological units have “a characteristic set of differential features:

1) these are ready-made linguistic units that are not created in the process of communication, but are retrieved from memory entirely;

2) these are linguistic units, which are characterized by constancy in meaning, composition and structure (similar to individual words);

3) in accentological terms, these are sound complexes in which their constituent components have two (or more) main stresses;

4) these are segmented formations, the components of which are recognized by the speakers as words. " Shansky N.M. Phraseology of the modern Russian language / N.M. Shansky. - M .: Higher school, 1985. - p. 29.

Phraseologisms must have the entire set of these features that distinguish them from free combinations and words.

In the language of each nation there are stable figurative turns that are reproduced in speech like a word, and not built like phrases and sentences. Such turns are called phraseological units. Another important property of phraseological units: the meaning of a whole phraseological unit does not consist of the meanings of the words included in it, for example, the expression "ate a dog," meaning to be a master in some business, "is completely unrelated to the meaning of the words included in it.

Phraseologisms differ in the degree of cohesion of the components. If it is maximum, then these are phraseological adhesions, for example, to get into a mess, to beat the thumbs up, do not hesitate at all. If the connection between the components is less, these are phraseological unity (pull the strap, lather the neck). In phraseological combinations, one member of the phraseological unit has a so-called limited, connected use, and the second is free: a sensitive issue, fraught with consequences, pitch darkness.

Sources of phraseological units of the Russian language are diverse.

The main part of the phraseological units of the Russian language is of primordial Russian origin, their source is, for example, professional speech (sharpen the fringes, beat the thumbs, without a hitch, remove the shavings, run aground, play the first violin). Some got into the literary language from jargon (rubbing glasses, a bit card, going all-in - with gamblers) and colloquial speech. Some phraseological units came from dialects and are associated with the labor of the peasantry (turning the shafts, from a bag into a mat, it is written on the water with a pitchfork). Many phraseological units have as their source the liturgical books (the holy of holies, the fiend of hell, in the image and likeness, the voice crying in the wilderness, the promised land) Vinogradov V.V. Russian language. Grammatical teaching about the word / V.V. Vinogradov. - M .: Higher. shk., 1986. - p. 137.

Many phraseological units came from ancient mythological literature (Augean stables, Achilles' heel, sword of Damocles, Promethean fire, tantalum flour).

Sometimes borrowed phraseological units are used without translation: alma mater (lat. Mother-nurse); tabula rasa (lat.blank board; something untouched, absolutely clean).

The source of the primordial phraseology is turns from the works of writers: happy hours are not observed (A. Griboyedov); deeds of bygone days (A. Pushkin); and the chest just opened (I. Krylov); knight for an hour (N. Nekrasov); a living corpse (L. Tolstoy); a man in a case (A. Chekhov); Man - it sounds proudly! (M. Gorky)

Such fixed expressions from fiction and journalism are usually called catch phrases.

Phraseologisms are almost always bright, figurative expressions. Therefore, they are an important expressive means of language used by writers as ready-made figurative definitions, comparisons, as emotional and pictorial characteristics of heroes, the surrounding reality, etc.

For example, K. Paustovsky in the novel "Smoke of the Fatherland", characterizing the action of one of the heroes, instead of words without hesitation, thoughtlessly uses phraseological units headlong: She was attracted by childishness, a tendency to get carried away headlong, chivalry, an ironic attitude towards herself.

A poem by A. Sitkovsky "All the best in the world" is based on the use of phraseological turns. Or N. Gogol in "Dead Souls": I suppose for my part, in all honesty: eight hryvnias per soul, this is the reddest price I. Ilf and E. Petrov in the novel "Twelve Chairs" give a whole synonymous series phraseological units with the meanings "to die": "Claudia Ivanovna has died," the customer said. “Well, the kingdom of heaven,” agreed Bezenchuk. - It means that the old woman has passed away ... Old women, they always repose .. Or they give their soul to God, - it depends on what kind of old woman. Yours, for example, is small and in body, which means that she has passed away. And for example, the one that is larger and thinner, it is believed, gives its soul to God ”... Larin BA Essays on phraseology // History of the Russian language and general linguistics. - M., 1977 .-- S. 51.

Sometimes writers use phraseological units in a modified, re-arranged form. In these cases, the phraseological unit receives new aesthetic qualities. For example, M. Saltykov-Shchedrin uses phraseological units to poke his nose somewhere, expanding it: Censorship is used to poking its stinking nose into the very sanctuary of the writer's thought.

1.2 Use of phraseological units as a stylistic means at different stages of the development of Russian literature

Ways and ways of using and forming phraseological units of language in fiction are extremely diverse. The examples given show that their expressive capabilities can be used in different ways depending on the figurative structure of the text, on the thematic task, and finally, on the specific artistic intentions and general stylistic aspirations of the writer. Written monuments of the X-XIII centuries that have come down to us. give a good idea of \u200b\u200bthe richness and versatility of the Russian literary language and the most ancient times.

The amazing variety of writing genres, for example, the literary and artistic monument "The Lay of Igor's Host", life, sermons, teachings, and so on, testifies to the highly developed system of the Old Russian literary language.

In this literary language of ancient Russia, lexical, phraseological, word-forming means and syntactic constructions were well developed, which, being replenished with elements of the Old Slavonic language, successfully served a wide variety of needs. In confirmation, one can refer to the richness of the phraseology of the Old Russian language, which included many words denoting the general attitude of people, abstract concepts, patriotic ideas, state structure, military exploits, family relations, professional differences, morality, religious beliefs, and so on.

The originality of the language of Muscovite Rus and its difference from the language literacy of Novgorod is well traced in phraseology. The holistic verbal groups used in the terminological sense are distinguished: the letter of Novgorod, the black earth, the kissing of the cross, and so on. Phraseological turns attested for the period of the XIV-XV centuries. only in the languages \u200b\u200bof Moscow letters: crowns brought in, the princes grow money for a year, keep them for years, borrowed money, a settlement to reduce, borrowed bread and many others. Essays on phraseology // History of the Russian language and general linguistics. - M., 1977 .-- P. 76.

When used individually, phraseological phrases can undergo various transformations. The possibility of deliberately altering phraseological units, their playing around (frequent use in works of fiction) indicates that the words that form phraseological units are perceived by the speaker precisely as words, and not the external components of the phraseological unit that coincide with the words.

One of the usual ways to play around with phraseological units is that a word included in a phraseological phrase can be understood literally, in its basic meaning. Then there is a destruction of an indecomposable word combination or its unexpected rethinking, for example: "Elena: don't you know that you have to pay with good for evil?" Black grouse: I have no big, small coins. M. Gorky "Bourgeois".

Not infrequently, not only free meanings of words included in a stable phraseological phrase, but also the same words included in other phraseological units, enter into the "game". As a rule, the meaning of these comparable phraseological phrases is not related to each other in any way. It is on the unexpectedness of such a rapprochement that the comic effect is calculated. In the article "a few words about G. Bulgarin's little finger and other things." A.S. Pushkin writes that he "attacked" the next place in "Son of the Fatherland", published by Grechin and Bulgarin: for he has more intelligence and talent in one little finger than in many of the heads of reviewers. " Tops: A book about outstanding works of literature. / Compiled by V.I. Kuleshova. - M .: Litizdat, 1983 .-- p. 112.

Sometimes the direct free meaning of a word is not opposed to its phraseologically related meaning, but serves as the main one for rewriting the expression, for example: the fact that there is an expression in the language "give up" to something allows Chekhov to jokingly say about the thrush living in a cage: he gave up a long time ago. "

The direct meaning that is part of a phraseological whole is often, as it were, just an excuse for creating a detailed image, which is perceived against the background of a commonly used stable phrase.

The literal interpretation of the expression "to hold by the nose" shown as a source of conflict in Dostoevsky's novel "The Demons" tells that P.P. Taganov, an "elderly and even honored" man, had an innocent habit of often verdicting with passion: No, they won't cheat me! Once, when he "uttered this aphorism" in the club, Stavroshin suddenly approached him and "unexpectedly, but firmly, grabbed his nose with two fingers and managed to pull two or three steps along the hall ...". Here, the playing of the expression "stay with the nose", understood simultaneously in two planes - in free and in phraseological.

In this regard, it is interesting to compare with the above example the numerous rhetorical transformations of the same phraseological combination in Chernyshevsky's novel "What is to be done?" The combination "hold by the nose" evokes a long series of individual-contextual variations based on external decomposition, combination. This decomposition does not lead to the semantic destruction of the phraseological unit, on the contrary, its general meaning, as it were, extends to the individual words included in it (hold by the nose). Tops: A book about outstanding works of literature. / Compiled by V.I. Kuleshova. - M .: Litizdat, 1983 .-- p. 114.

Thus, it is clear that phraseological units have found wide application in the works of not only modern writers, but also in the monuments of ancient Russian literature.

Radishchev, the creator of the revolutionary journalistic style, widely used the vocabulary and phraseology of the Slavic-Russian character, changing and developing their semantic system and ideological orientation. Many new formations of Radishchev testify to how the phraseology was formed and created. For example, from the word "citizen" Radishchev produces a lot of such formulas: civil rank, civil status, civil cohabitation, and boldly says that civil rank is the highest rank of a citizen. Karamzin spoke out against the passion for the French language, proclaiming the principle of phraseological innovation, phraseological creativity, finding in this one of the means of developing and enriching the national literary language.

The outstanding principle of Karamzin's phraseological creativity was not alone. Belinsky called his era "the century of phraseology." The phraseological composition of Karamzin's prose was strongly influenced by the styles of poetry. Many of his phraseological innovations seemed artificial, since they were not appropriate in the styles of poetic, rather than prosaic. phraseological unit literature language shchedrin

The importance of Gogol in the history of the literary language is also determined by the inexhaustible creative depiction that he discovered when using common phraseology. Many of these words and expressions have not only direct, but also figurative, figurative meanings. He used phraseology as a means of figurative characterization of characters. For example, Nozdrev's son-in-law said “in such a lazy and sluggish voice, as if, in the Russian expression, he was dragging a clamp on a horse with pincers”, Manilov refers to the family of people “known by the name: people are so-so, neither this nor that, not in the city Bagdan, nor in the village of Selifan "according to the proverb". Tops: A book about outstanding works of literature. / Compiled by V.I. Kuleshova. - M .: Litizdat, 1983 .-- p. 114.

In the early works of Shchedrin, very many phraseological units of church-book origin are used: "Babylonian pandemonium", "flesh and blood", "unquenchable fire", "stumbling block", "the sea of \u200b\u200blife" Vinogradov V.V. On the main types of phraseological units in the Russian language. // Selected works. Lexicology and Lexicography. - M., 1977 .-- p. 142.

Along with them, the following expressions are used in the form of quotations and common sayings: "wondrous are your deeds, O Lord," "humble yourself before the hand of providence," "where the wicked slave lies ahead" and others. In Belinsky, Dobrolyubov, as well as in journalistic articles, you can find many similar expressions. In the works of Shchedrin in 70-80, the range of phraseological units involved is significantly expanded: "poor in spirit", "for a dream to come", "green medal", "fiery hyena" and the like.

In the Shchedrinsky language, expressions are used: “to bring peace and benevolence into the hearts of men,” “blessed is the man,” “the sins of this world,” “faith is dead without work,” and others.

In the use of this phraseology, Shchedrin clearly identified the following trends:

Their assimilation by a general literary means of expression, typical not only for the individual use of Shchedrin, but also for the literary language of that era.

Parodically ironic use to create satirical expression, which will be discussed in the next chapter.

Creation of an accusatory-pathetic syllable.

Use of phrase formation as material and models.

These Shchedrin ways of using phraseological Church Slavicisms reflect the social processes that were taking place then in the literary language and which were expressed in the form of bookish and colloquial elements and other types of stylistic use of this disordered mass of phraseological "fragments".

The widespread use of phraseological units as stylistic means is reflected in modern texts. The vocabulary and phraseology of the Russian language was replenished with a huge number of new words and expressions. Gorky drew attention to this, who said that by comparing the word used by writers of past eras, one can see how the vocabulary of the modern Russian language has significantly expanded and enriched. This enrichment of vocabulary and phraseology is that the main fund of the Russian language has been replenished with many new words and expressions.

2. Phraseologisms in Saltykov-Shchedrin's prose

2.1 The life and work of Saltykov-Shchedrin

Saltykov-Shchedrin Mikhail Evgrafovich (real name Saltykov), years of life: January 15 (27), 1826 (Spas-Ugol village, now Kalyazinsky district of the Tver region) - April 28 (May 10) 1889 (St. Petersburg), Russian writer satirist, publicist.

He was the sixth child of a hereditary nobleman, collegiate counselor E.V. Saltykova, mother came from a family of Moscow merchants. Until the age of 10 he lived on his father's estate. Childhood years passed in an atmosphere of extreme frugality and severity of the mother, often turning into cruelty. The relationship between family members - indifference, disunity, dividing children into beloved and "hateful", physical punishment, which was considered a necessary element of education - later became the basis for vivid artistic images of the Golovlev families ("The Lord Golovlevs", 1875-80) and Zatrapezny ("Poshekhonskaya antiquity ", 1887-89). In 1836 he was enrolled in the Moscow noble institute, where M.Yu. Lermontov (at that time it was called a noble university boarding school), and in 1838 as the best student of the institute he was transferred to the Tsarskoye Selo Lyceum. A passionate admirer of Russian literature, Saltykov immediately became known as the first poet on the course, and his poems began to appear in periodicals, but the future writer himself realized that he was deprived of a poetic gift. During his studies, he became close to the graduate of the Lyceum M.V. Butashevich-Petrashevsky, who had a serious impact on the worldview of the future writer. He enthusiastically studied the philosophical works of the French utopian socialists Charles Fourier and Saint-Simon, got acquainted with the progressive views of supporters of emancipation, the ideas of V.G. Belinsky. Life and work of M.E. Saltykov-Shchedrin / comp. and entered. Art. M.S. Goryachkina. - M .: Litizdat, 1989 .-- p. 12.

In 1844, he was assigned to serve in the office of the War Ministry, the bureaucratic service weighed down on him - Saltykov dreamed of doing only literature. In 1847 he began work on the first story "Contradictions", "a story from everyday life" - as the author himself defined it, published in the journal Otechestvennye zapiski. In the story, one can clearly hear the echo of the ideas of the Petrashevists, and in the contradictory and complex image of the main character Nagibin, the features of the writer's friends and associates are guessed. The second story "Confused Business" (1848) continued and in its own way developed the traditions, on the one hand, of Gogol and Dostoevsky, on the other, representatives of the natural school. The vividly written story of a kind of "little man", an inhabitant of the Petersburg lower classes, had an unexpected resonance: the release of "Delo" coincided with the tightening of censorship restrictions after the Great French Revolution and the organization of a secret committee chaired by Prince Menshikov, as a result the story was banned, and its author was exiled to Vyatka and was appointed a scribe in the Provincial Administration.

Years of despair, routine paperwork, painful uncertainty about his future (at this time the arrests of members of the Petrashevsky circle began) and inner loneliness awaited the brilliant graduate of the Tsarskoye Selo Lyceum. In 1850, the scope of the writer's duties suddenly changed, Saltykov became a member of the commission for the preparation of the Vyatka exhibition of the fruits of peasant labor. The new occupation made it possible to gain a deeper understanding of the life of the people, to penetrate into the specific features of the economic development of the Russian province. In 1855 he received the long-awaited permission to return to the capital. Even during the Vyatka exile, an important event took place - an acquaintance with Liza Boltina, who became Saltykov's wife in 1856, despite the active discontent of the writer's parents. Life and work of M.E. Saltykov-Shchedrin / comp. and entered. Art. M.S. Goryachkina. - M .: Litizdat, 1989 .-- p. 56.

Seven years of observation of the ineffective and sometimes criminal work of the bureaucratic apparatus, the backwardness and inertia of the laws regulating the economic life of the countryside, the boring and ignorant existence of the inhabitants were reflected in the "Provincial Essays" (1856-1857), published in the journal "Russian Bulletin" under the pseudonym Shchedrin ... The time of writing the essays was imbued with the spirit of freedom and liberalism: the era of reforms of Alexander II returned independence and richness of literary life, revived interest in satire, revived the hope of the intelligentsia for the possibility of radical transformations in the structure of society and the spiritual world of man. In the "Provincial Essays" the talent of Saltykov as an exposer, a passionate fighter against everything backward, unclean, limited, vicious, comes to the fore. In 1958-62, two collections were published: "Innocent Stories" and "Satires in Prose", in which the city of Foolov, a collective image of contemporary Russian reality, first appeared.

In February 1862 he decided to retire and devote himself entirely to writing and publishing, takes an active part in the publication of Sovremennik. However, in 1866 he returned to the service, this time as a manager of the Penza Treasury Chamber, where he continued to actively work on "Foolov's" pamphlets, replenishing the collection of ugly images by observing the disposition of his superiors and subordinates. In 1868 he leaves his post and goes to the journal Otechestvennye zapiski, and after the death of Nekrasov, who was the former editor-in-chief, he becomes the head of the journal.

At the end of the 1860s. begins work on "The History of a City" (1970), while the portrait of Foolov, captured in satirical pamphlets, changes significantly, acquiring new features. Previously, the root of all Russian troubles was seen in the nobility's inertia and arbitrariness, now to this have been added the peasants with their stupid obedience and willingness to endure this arbitrariness. Reflecting on the reasons for this situation, Saltykov turns to history, this is how the main idea of \u200b\u200bthe book is formed. The satirist's talent and boundless imagination gave birth to the bizarre grotesque-fantastic world of "History", a terrible and doomed world, inhabited by monsters, and the mayors and the people themselves are ugly. The main task facing the writer was not to create a parody of official historiography, despite the fact that the images of mayors reflect the characteristic features of their prototypes, and each Foolov's ruler corresponds to a real historical figure, here Saltykov rises to the level of generalization, offering a collective image of the Russian society with its timeless vices (in this regard, the image of Russia drawn by the writer turned out to be largely prophetic). At the same time he works on publicistic articles, in 1870 he publishes collections telling “Signs of the Times” and “Letters from the Province”, “Pompadours and Pompadurs” (1873), “The Lord of Tashkent” (1873), “Diary of a Provincial in St. Petersburg” (1873), “ Well-intentioned speeches ”(1876), which became a noticeable phenomenon not only in literature, but also in socio-political life. Life and work of M.E. Saltykov-Shchedrin / comp. and entered. Art. M.S. Goryachkina. - M .: Litizdat, 1989 .-- p. 72.

In 1878 the most serious and significant novel, The Golovlevs, was published. The history of the Golovlev family is an overwhelming tragedy and profound story of the decay and death of a noble family, the agonizing agony of the family. The writer is interested in the process of the disintegration of the human personality, obsessed with passion: the passion of acquisitiveness, the passion for alcohol, verbal binges. Along with social issues, Saltykov-Shchedrin raises a number of ontological issues that directly relate to the foundations of a person's spiritual life, as an indispensable condition for physical life.

The tales of Saltykov-Shchedrin (first appeared in 1869, but most of them were written in the period 1883-86) fit organically into the satirical channel of the writer. This genre turned out to be very close to the artistic methods of Saltykov-Shchedrin, such as hyperbolization of images, grotesque mixing of details, the inclusion of elements of fantasy and phantasmagoria, allegory. At the same time, he actively uses the genre of the classic folk tale about animals: for each animal, Saltykov-Shchedrin has a traditional set of vices and negative qualities, supplemented by recognizable social characteristics.

The novel "Poshekhonskaya antiquity" (1886) in many respects repeats the main ideas of "Gentlemen Golovlevs". However, compositionally, the novel is much more complex and multifaceted: the chronicle, the biography of the heroes (a significant part of which is autobiography) and the epic historical and everyday panorama of serfdom predetermine the three main levels of the novel's construction. In addition, the writer almost completely abandons satire, the novel is thought of as a historical document of a bygone terrible era of slavery and lawlessness. Is this era gone? Have the dark years turned into real "old days"? Saltykov-Shchedrin gives a negative answer to these, which are fundamental for the entire work of the writer.

2.2 The general meaning of phraseological units and their role in M.E. Saltykov-Shchedrin

The problem of analyzing the features of the functioning of phraseological units in a literary text is one of the most relevant in modern linguistics. The functions of phraseological units in the text are determined by the systemic properties of phraseological units: structurally separate formulation, asymmetry of form and semantics as a result of metaphorization and abstraction from the meaning of the derivational base, imagery, semantic capacity, connotation, as well as the ability to occasional structural and semantic modifications by T. Malinsky. units // Russistics. - Berlin. - 1992. - No. 2. - p. 67.. These properties of phraseological units led to their widespread use in the tales of Saltykov-Shchedrin. The functioning of phraseological units in the analyzed texts is subordinated to the goals of satirical poetics.

In the tales of Saltykov-Shchedrin, phraseological units are presented in both traditional and transformed forms. The author makes extensive use of the possibilities of increasing the expressiveness of normative phraseological units, using the techniques of gradation, antithesis, stylistic contrast.

The main methods of individual-author's transformations of phraseological units are structural (you can't see the end instead of: you can't see the end-edge; above any measure, instead of beyond measure; shoot with your eye instead of shooting with your eyes, etc.), semantic, including pun intended use of phraseological units, structural -semantic (shedding bloody sweat comparison: shedding blood and bloody sweat).

Phraseologisms perform various text-forming functions in the tales of Saltykov-Shchedrin.

Structural and compositional function, due to the direct participation of phraseological units or their elements in the formation of headings or subheadings ("Sun-dried vobla", "Sheep not remembering", etc.), as well as individual phrases or superphrasal text units

The semantic function due to the participation of the individual semantics of phraseological units in the formation of the meaning of the entire text as a communicative unit (iron gloves, where Makar did not drive calves in the fairy tale "Dried Vobla", to the dog - a dog's death - "Faithful Trezor", etc.).

A style-forming function due to the participation of stylistically significant phraseological units in the formation of texts of a particular functional style.

Genre-forming function, due to the participation of phraseological units in the formation of the genre originality of the text (fabulous beginnings, sayings, proverbs and sayings).

Phraseological units in M.E. Saltykov-Shchedrin are a vivid means of characterizing the images of heroes, they participate in the formation of the ideological and thematic content of works, are used as one of the means of creating a comic (often satirical) effect.

The creativity of Mikhail Evgrafovich Saltykov-Shchedrin is extremely diverse. His fairy tales occupy a special place among the vast heritage. "They are powerful in their thought, funny and at the same time tragic in their poisonous malice, charm with their linguistic perfection" - said V.A. Lunacharsky Saltykov-Shchedrin M.E. Satirical novels and fairy tales / M.E. Saltykov-Shchedrin. - M .: Moscow worker, 1987 .-- 638 p. ...

In the complex ideological content of Saltykov-Shchedrin's tales, four main themes can be distinguished: satire on the top government of the autocracy, depicting the life of the masses in Tsarist Russia, exposing the behavior and psychology of the philistine-minded layers of the intelligentsia, exposing the individualistic morality of the heroes of fairy tales. The language of Saltykov-Shchedrin's fairy tales is unusually rich. Along with simple, commonly used words, Saltykov-Shchedrin uses phraseological units - figurative expressions that have become part of our language and are used along with linguistic units. A number of phraseological units have been selected from the tales of Saltykov-Shchedrin and their lexical meaning is given:

To hold a stone in your bosom - to conceal anger ("The Wild Landowner")

Not giving up an inch - not giving up at all (ibid.)

Stand your ground - achieve your requirements (ibid.)

My hut on the edge - unwillingness to take part in any business ("Dried vobla")

To breed on beans - that is, to guess (ibid.)

Nowhere to stick your nose out - nowhere to go ("The Wise Gudgeon")

Uma chamber - have a lot of mind (ibid.)

Look at both - be vigilant (ibid.)

Stands on the clock - looks after the time ("Selfless Hare")

10. Lead to one denominator - lead to a single solution ("Bear in the Voivodeship")

We saw death in our eyes - we saw the terrible, terrible ("Karas is an idealist")

Sleep in hand - prophetic dream ("The Wise Gudgeon")

13. With a bag around the world I will let you go - to make me a beggar

14. A fool sits on a fool, drives a fool - showing a society where both bosses and subordinates are stupid (ibid.)

15. Go seven versts of kissel to sip - go far for something ("The Wise Gudgeon")

16. Overflows - to have too much of something that does not fit in the volume ("Liberal")

17. To be at a dead end - to meet such a difficulty, from which it is impossible to get out ("The Crow-petitioner")

18. Do not give a damn about everything - do not take into account anything, everything is indifferent ("By the way")

19.We go to the court - to the place ("Carp the idealist") 2

20. With Makar who does not drive calves to get acquainted (otherwise: Where Makar does not graze calves) - a remote place where no one has been ("Dried vobla")

21. Get angry - seriously angry ("Bear in the Voivodeship")

22. To clap your eyes is pointless, stupid to look ("Eagle-ecenat")

23. Keep your pocket wider - hope for something that cannot happen ("Carp the idealist")

24. Not for a penny it will be lost - it will be completely in vain ("Horse")

25. The hour is not even - everything can be ("Dried vobla")

26. Speak from three boxes - to say a lot ("Sleeping Eye")

27. Nothing under the moon is forever - everything is mortal ("By the way")

28 In a spoon to drown - a promise of reprisals ("Nothing sleepy eye")

29. Miracles in the sieve - something amazing, unusual ("Horse")

30. They don't feed the nightingale with fables - talk a lot, but don't do things ("Bogatyr")

31. Like water off a duck - all the same, indifferent ("Horse")

32. We sniffed in the air, what it smells like - to find out the situation ("The Bear in the Voivodeship")

33. Keeping tight-lipped - very strict, harshly treat someone ("Crow-petitioner")

34. Bend into a ram's horn - keep in duty, humble by severity, oppression ("Selfless Hare")

35. And he lived and trembled and died, trembled - to live in eternal fear and die in fear too ("The Wise Gudgeon")

Phraseologisms are divided according to certain criteria: Phraseologisms denoting action:

Hold a stone in your bosom.

Not an inch to yield.

Stand one's ground.

To breed on beans.

Look at both.

Wherever he turns, everywhere he is mate.

Stands on the clock.

Reduce to one denominator.

Death was seen.

10.With my bag, I’m going all over the world.

11. The fool sits on the fool, drives the fool.

12. Go for seven miles of kissel to sip.

13. Spills over the edge.

14. Get stuck.

15) Don't give a damn about anything.

16. Do not be angry.

17. Clap your eyes.

18. Keep your pocket wider.

19. Not for a penny wasted.

20. The hour is not even.

21. Talk about three boxes.

22. Drown in a spoon.

23. Nightingales are not fed with fables.

24 And he did not turn his ear.

25.Smelling in the air what it smells like.

26. Bend into a ram's horn.

27. And he lived and trembled and died, trembled.

28. Where Makar did not drive calves. Saltykov-Shchedrin M.E. Satirical novels and fairy tales / M.E. Saltykov-Shchedrin. - M .: Moscow worker, 1987 .-- 638 p.

Phraseologisms denoting objects:

1. My hut on the edge

2. The ward of the mind.

3. Sleep in hand.

Phraseologisms denoting features of an object:

1. Miracles in a sieve.

2. Nothing under the moon lasts forever.

Phraseologisms denoting a sign of action to the main action:

To us in the yard.

Hedgehog mittens.

The general meaning of the phraseological unit may be completely different: to recognize Kuz'kin's mother is rather used as a designation of fear as a result of a threat; "- What, I suppose, I learned at that time (during the audit), as Kuzka's mother was called!" (Saltykov-Shchedrin "Poshekhonskaya antiquity"). In the works of M.E. Saltykov-Shchedrin phraseological unit is transformed so that even acquaintance with only the name of Kuzka's mother seems terrible: “But talk to me, so you will find out how Kuzka’s mother’s name is called” (Satires in prose “Grinding teeth”).

Sometimes the same author confines himself to only a hint of an ominous expression, which is characteristic of his Aesopian language: "There is no guard shouting anywhere abroad, they are not threatened to be brought to the police station, they do not stop by, they do not remind of Kuzka and his relatives" (Abroad).

In the genre of a fairy tale, the ideological and artistic features of Shchedrin's satire were most clearly manifested: its political acuteness and purposefulness, the realism of its fantasy, the ruthlessness and depth of the grotesque, the crafty sparkling humor.

Shchedrin's “Fairy Tales” in miniature contain the problems and images of the entire work of the great satirist. If, except for "Tales", Shchedrin wrote nothing, then they alone would have given him the right to immortality. Goryachkina M. Fighting satire M.E. Saltykov-Shchedrin. Fairy tales / M. Goryachkina. - M .: Litizdat, 1982 .-- p. 23. Of the thirty-two tales of Shchedrin, twenty-nine were written by him in the last decade of his life (most from 1882 to 1886), and only three tales were created in 1869.

Fairy tales, as it were, sum up the forty-year creative activity of the writer. Shchedrin often resorted to the fairy tale genre in his work. Elements of fairytale fiction are also present in The History of a City, and the satirical novel Modern Idyll and the chronicle Abroad include completed fairy tales.

And it is no coincidence that the flowering of the fairy tale genre falls on Shchedrin in the 80s. It was during this period of rampant political reaction - in Russia, the satirist had to look for the form most convenient for circumventing censorship and at the same time the closest, understandable to the common people. And the people understood the political acuteness of Shchedrin's generalized conclusions hidden behind the Aesopian speech and zoological masks, the author's phraseological units. He created a new, original genre of political fairy tale, which combines fantasy with real, topical political reality.

In Shchedrin's tales, as in all his work, two social forces are opposed: the working people and their exploiters. The people appear under the masks of kind and defenseless animals and birds (and often without a mask, under the name "man"), the exploiters - in the guise of predators. The symbol of peasant Russia is the image of Konyaga - from the fairy tale of the same name. Konyaga is a peasant, a toiler, a source of life for everyone. Thanks to him, bread grows in the vast fields of Russia, but he himself has no right to eat this bread. His lot is eternal hard labor. “There is no end to work! The whole meaning of its existence is exhausted by work ... ”- exclaims the satirist. Konyaga is tortured and beaten to the limit, but he alone is able to free his native country. “From century to century the formidable immobile bulk of the fields grows numb, as if it were guarding a fabulous power in captivity. Who will free this power from captivity? Who will call her into the light? This task fell to the lot of two creatures: the peasant and the Konyag ... This fairy tale is a hymn to the working people of Russia, and it is no coincidence that it had such a great influence on democratic literature of Shchedrin's contemporary. Bushmin A.S. Saltykov-Shchedrin: The Art of Satire / A.S. Bushmin. - M .: Contemporary, 1976. - p. 45.

In the fairy tale "The Wild Landowner" Shchedrin, as it were, summarized his thoughts on the reform of the "liberation" of the peasants, contained in all of his works of the 60s. Here he raises an unusually acute problem of the post-reform relationship between the serf-noblemen and the peasantry, which was finally ruined by the reform: “The cattle will go out to drink - the landowner shouts: my water! the chicken goes out to the outskirts - the landowner shouts: my land! And earth, and water, and air - everything became him! Luchina did not become the peasant in the world to light, the rod was gone, how to sweep the hut. So the peasants all over the world prayed to the Lord God: - Lord! It is easier for us to be abyss even with children with small children, than to suffer like this all our lives!

This landowner, like the generals from the tale of two generals, had no idea of \u200b\u200bwork. Abandoned by his peasants, he immediately turns into a filthy and wild animal. He becomes a forest predator. And this life, in essence, is a continuation of his previous predatory existence. The wild landowner, like the generals, acquires an external human appearance only after his peasants return. Scolding the wild landowner for his stupidity, the police chief tells him that without peasant “taxes and duties” the state “cannot exist”, that without peasants everyone will die of hunger, “you cannot buy a piece of meat or a pound of bread in the bazaar” and money from there will be no masters Saltykov-Shchedrin M.E. Satirical novels and fairy tales / M.E. Saltykov-Shchedrin. - M .: Moscow worker 1987 .-- 638 p. ... The people are the creator of wealth, and the ruling classes are only consumers of this wealth.

The petitioner raven turns to all the higher authorities of his state in turn, begging to improve the unbearable life of the peasant crows, but in response he hears only "cruel words" that they cannot do anything, because under the existing system the law is on the side of the strong. “Whoever prevails is right,” the hawk instructs. “Look around - there is strife everywhere, everywhere there is a quarrel,” the Kite echoes him. This is the "normal" state of a proprietary society. And although "the crow lives in society, like real men", it is powerless in this world of chaos and predation. The men are defenseless. “They are firing at them from all sides. Now the railway will shoot, then the car is new, then the harvest is poor, then the exaction is new. And they just know they turn over. How did it happen that Guboshlepov got his way? After that, the hryvnia in their purse diminished - can a dark man understand this? .. "The kite from the fairy tale" The raven-petitioner "although he was a cruel predator, but he told the crow the truth about animals the laws of the world around them.

The crucian carp from the tale “Crucian carp the idealist” is not a hypocrite, he is truly noble, pure in soul. His socialist ideas deserve deep respect, but the methods of their implementation are naive and ridiculous. Shchedrin, being himself a socialist by conviction, did not accept the theory of the utopian socialists, he considered it the fruit of an idealistic view of social reality, of the historical process. “I do not believe ... that struggle and squabbles were a normal law, under the influence of which everything living on earth is supposedly destined to develop. I believe in bloodless success, I believe in harmony ... ”Saltykov-Shchedrin M.Ye. Satirical novels and fairy tales / M.E. Saltykov-Shchedrin. - M .: Moscow worker 1987 .-- 638 p. - the crucian ranted. In the end, he was swallowed by a pike and swallowed mechanically: she was struck by the absurdity and strangeness of this sermon.

In other variations, the idealist crucian carp theory was reflected in the tales The Selfless Hare and The Sane Hare. Here, the heroes are not noble idealists, but ordinary cowards, hoping for the kindness of predators. Hares do not doubt the right of the wolf and the fox to take their lives, they consider it quite natural that the strong eat the weak, but they hope to touch the wolf's heart with their honesty and obedience. "Or maybe the wolf ... ha-ha ... will have mercy!" Predators remain predators. Zaitsev is not saved by the fact that they "did not start up revolutions, they did not come out with weapons in their hands." Shchedrin's wise minnow - the hero of the fairy tale of the same name - became the personification of wingless and vulgar philistine. The meaning of life of this "enlightened, moderately liberal" coward was self-preservation, avoiding clashes, from struggle. Therefore, the gudgeon lived to a ripe old age unharmed. But what a humiliating life it was! It all consisted of continuous trembling for its skin. "He lived and trembled - that's all." The toptygins from the tale "The Bear in the Voivodeship", sent by the lion to the voivodeship, set as much "bloodshed" as possible as the goal of their rule. By this, they aroused the anger of the people, and they suffered the "fate of all fur-bearing animals" - they were killed by the rebels. The same death from the people was accepted by the wolf from the fairy tale "Poor Wolf", which also "robbed day and night." In the fairy tale "The Eagle the Patron" is given a destructive parody of the tsar and the ruling classes. The eagle is the enemy of science, art, protector of darkness and ignorance. He destroyed the nightingale for his free songs, the literate woodpecker "dressed up ... in shackles and imprisoned in a hollow forever", ravaged the raven-men to the ground. In the end, the crows rebelled, "the whole herd took off and flew away," leaving the eagle to die of starvation. "Let this be a lesson for the eagles!" - the satirist concludes the tale meaningfully.

All of Shchedrin's tales were subjected to censorship persecution and many alterations. Many of them were published in illegal publications abroad. The masks of the animal world could not hide the political content of Shchedrin's tales. The transfer of human traits and psychological and political, through and through consisting of the artistic originality of the author's phraseological units - on the animal world created a comic effect, clearly exposed the absurdity of existing reality.

The fantasy of Shchedrin's tales is real, it carries a generalized political content. Eagles are "predatory, carnivorous ..." They live "in alienation, in inaccessible places, they do not engage in hospitality, but they plunder" - this is what the tale of the eagle-patron says. And this immediately draws the typical circumstances of the life of a royal eagle and makes it clear that we are not talking about birds at all. And further, combining the atmosphere of the avian world with affairs by no means avian, Shchedrin achieves lofty political pathos and caustic irony. The tale of the Toptygins, who came to the forest to "pacify internal adversaries", is also constructed. Do not obscure the political meaning of the beginnings and endings, taken from magical folk tales, the image of Baba Yaga, Leshy. They only create a comic effect. The discrepancy between form and content here contributes to a sharp exposure of the properties of a type or circumstance. Safina R.A. Characteristics of phraseological units. Works and materials / R.A. Safina. - Kazan: KSU, 2003 .-- T. 1.- p. 175.

Sometimes Shchedrin, having taken traditional fairy-tale images, does not even try to introduce them into a fairy-tale setting or use fairy-tale techniques. Through the lips of the heroes of the tale, he directly expresses his idea of \u200b\u200bsocial reality. Such is, for example, the fairy tale "Neighbors".

The language of Shchedrin's tales is deeply popular, close to Russian folklore. The satirist uses not only traditional fairy tales, phraseology, images, but also proverbs, sayings, sayings (“If you don't give a word, hold on, but if you give it, hold on!”, “There will be no two deaths, one cannot be avoided”, “Ears above the forehead are not grow "," My hut is on the edge "," Simplicity is worse than theft "). The dialogue of the characters is colorful, the speech depicts a specific social type: a domineering, rude eagle, a fine-minded idealistic crucian carp, an evil reactionary rogue, a bigot of a priest, a dissolute canary, a cowardly hare, etc.

The images of fairy tales have come into use, have become common nouns and live for many decades, and the common human types of objects of Saltykov-Shchedrin's satire are still found in our life today, it is enough just to take a closer look at the surrounding reality and reflect ...

The Shchedrinskaya tale is a combination of the traditions of fiction and folklore. His satire was formed from the imagery of folk speech, zoological assimilation, allegory, fantasy.

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Hello dear readers of the blog site. It is not for nothing that the Russian language is considered "great and mighty."

It contains not only words with which you can describe the reality of what is happening, but also the meaning of which does not correspond to the words used in them.

Such phrases (these are phraseological units) cannot be understood "head-on" (literally), because the words used in them sometimes create a completely ridiculous picture. For example, “make an elephant out of a fly”, “sit in a puddle”, “lead by the nose”, “like water off a duck's back,” etc. They are used only in a figurative sense and this.

What is it (by examples)

Phraseologisms are stable expressions (commonly used in this form), one of the features of which is that they are almost impossible to translate into. And if you do it literally, you get a real gibberish.

For example, how do you translate phrases to a foreigner:

With a gulkin nose
Where the eyes look.
Shot Sparrow.

At the same time, we, as native speakers of the Russian language, will immediately understand what is at stake.

"With a gulkin's nose" - a little, just a little.
"Where the eyes are looking" - straight, without a specific goal.
"Shot Sparrow" - experienced in some business.

This is one of the examples of phraseological units. And here is the definition given to this concept in textbooks:

“Phraseologism is an expression established in structure and composition, which used in a figurative sense and consists of two or more words. "

Signs of phraseological units

Phraseologism is easy enough to recognize. These phrases have their own distinctive features:

1. They include two or more words;
2. Have stable structure;
3. Have portable value;
4. Have historical roots;
5. Are united member of the proposal.

And now let's take a closer look at each of these distinctive criteria of phraseological units.

These are several words that are one member of a sentence

There are no phraseological units in one word at all. Most often they consist of just two words, but there are many examples and longer phrases.

Here examples of such phrases with an explanation of their meaning:

"I ate the dog" - an experienced one, has done something more than once.
"You can't spill water" - very friendly.
"Wait for the weather by the sea" - do nothing and hope that everything will be resolved by itself.
"Seven Fridays a week" - constantly change your plans or decisions.
"Beat like a fish on ice" - you do something, but it does not give a result.
“Well, you made a mess” - did something that provoked a whole chain of events.

When parsing a sentence, phraseological units are not divided into parts. For example, the phrase "worked hard to sweat" is a single predicate. Just like "counting crows" or "washing your hands."

Phraseologisms are stable phrases in a figurative sense

Such phrases cannot be distortedby adding or removing individual words from them. AND cannot be replaced one word to another. In this they resemble a "house of cards", which will fall apart if you pull out one card.

By the way, "House of cards" is also an example of a phraseological unit, it is used when they want to say that "Something broke very easily or is about to break".

For example:

“Between heaven and earth” means being in limbo, not knowing what to do.

And it is impossible in this phrase to replace "sky", for example, with "clouds", or "earth" with "field". The result will be a completely non-colorful expression that others people won't understand.

More examples of stable phraseological units with an explanation of their meaning:

"To muddy the waters" means to think of something strange, it is not good to influence others.
"Through the sleeves" - to do something poorly.
Roll up your sleeves - work well and quickly.
"Counting crows" - to be distracted, to be inattentive.
"Staying with your nose" means being deceived.
“Take hold of the mind” - change your behavior or attitude towards something.

These phrases always have a figurative meaning.

As you may have noticed, all phraseological units have a figurative meaning. That is why it is simply impossible to translate them into another language.

For example, try to translate the phrase into English "disservice"... It will sound like "bear service", and any foreigner will literally understand that "a particular bear is providing some kind of service", and would rather decide that it is a trained bear.

But we perfectly understand this phraseological unit, which means "Help so that it gets worse".

The same can be said for other expressions:

"Grated kalach" is a wise person who cannot be fooled.
"On the topic of the day" - something relevant that at the moment is attracting a lot of attention.
“He sat in a galosh” - did something absurd, made a mistake.
“Losing your head” means doing unreasonable things.
"To wash the bones" - to discuss someone behind his back.

The history of the origin of phraseological units

Some philologists argue that all phraseological units have some kind of historical roots. It's just that not everything managed to survive before us. But there are phrases about which we know exactly where they came from.

For example, the expression "Beat the thumbs up"which means "nothing to do"... Backlash in the old days was called small wooden blocks, from which spoons were most often made. It was very easy to make blanks, they trusted the most inept apprentices. And everyone around thought that they did not work properly.

Or phraseological unit "like water off a duck's back", meaning that "everything is forgiven to a person." This phrase originated from nature itself. Not only in a goose, but also in any bird, water really runs off quickly, since their feathers have a thin layer of fat.

And here is the expression "Trishkin caftan" not so widely known, although it means "an unsuccessful attempt to solve a problem that only leads to new problems." The phrase appeared thanks to Krylov's fable:

Trishka's caftan ripped through on the elbows.
What long to think here? He took up the needle:
Cut off the sleeves by a quarter -
And he paid his elbows. The caftan is ready again;
My hands were only a quarter shallower.
What about this sadness?

And here is the phraseological unit "Monomakh's hat", which means "too much responsibility", gave us Pushkin in his drama "Boris Godunov".

Examples of phraseological units and their meaning

And this is not the only example when common expressions appear in the Russian language thanks to literature. For example, a lot has come to us from ancient myths and epics, and even from the Bible.

1. "Apple of discord" - the reason for the quarrel between people. Initially, they meant an apple, because of which the ancient Greek goddesses Athena, Aphrodite and Hera quarreled, since it was written "most beautiful".
2. "Trojan horse" - a hidden trap. The wooden horse in which the Greeks hid to conquer Troy.
3. "Gordian knot" - a confusing, difficult situation. In memory of the real knot that King Gordius tied and that Alexander the Great cut with his sword.
4. "Augean stables" - a big mess. One of the exploits of Hercules when he was ordered to cleanse the huge stables of King Augean.
5. - the impending threat. Another story from Ancient Greece, when the courtier Damocles was jealous of King Dionysius and wanted to take his place. And he agreed, but hung a sword over his head on a horsehair.
   
   
6. "Procrustean bed" - the desire to fit something into the existing framework, while sacrificing something important. " The robber Procrustes lured travelers to him and put them on his bed. To whom she was small, he stretched his legs. And to whom is great, cut them off.
7. "Two-faced Janus" - and deception. In ancient Roman mythology, there was such a God with two faces, who was in charge of all the doors, entrances and exits.
8. "Achilles' heel" - weakness. In honor of the ancient Greek warrior Achilles, who was dipped into the water of immortality as a child. And the only unprotected place he had was the heel, as he was held by it when they lowered him into the bath.
9. "Manna from heaven" - something necessary and saving. The roots must be looked for in the Bible, in the history of how Moses led the Jews out of Egypt. At some point, they ran out of all their food, and God sent them "manna from heaven."
10. "Sisyphean Labor" - a useless activity that will definitely not be useful. The ancient Greek king Sisyphus, for his dissolute life, was condemned to eternal torment - to roll a huge stone onto the mountain, which then immediately rolled down.
11. « » - a topic or person that is constantly being discussed. One of the punishments in the Old Testament for apostates - "you will be a parable, a horror and a laughing stock among all nations." And "yazytsi" are "peoples" in Church Slavonic.
12. "Ared's eyelids" - a very long time. An extremely rare phraseological unit that also came from the Bible, which mentions the patriarch Ared, who lived in the world in 962.
13. "Homeric laughter" - loud laughter at some stupidity. This is how the Gods laughed in Homer's poems "The Odyssey" and "Iliad".
14. "Smoking incense" -, too much to praise. Another rare phraseological unit, which appeared thanks to the incense of the same name, which was burned in Jerusalem temples to appease God.
15. "Pyrrhic victory" - a victory for which one had to pay too high a price. Ancient Greek king Pyrrhus defeated the Romans, but lost too many soldiers. Even his phrase is known - "One more such victory, and we will perish."
16. "Sink into oblivion" - to be forgotten. Lethe - in the ancient Greek river in the kingdom of the dead, ruled by the god Hades.
17. "Pandora's Box" - a source of misfortune and misfortune. In the Myths of Ancient Greece, Zeus sent a woman named Pandora to earth. And he gave her a chest, which contained all human misfortunes. And she could not resist and opened it.
18. - disorder, disorganization, turning into real chaos. In the Old Testament, people decided to build a tower that would reach the heavens.

    

    But the Lord was angry - he destroyed the tower and mixed languages \u200b\u200bso that people could not understand each other in the future.

Brief summary

In conclusion, I will say that phraseological units are found in any language of the world. But so many winged phrases, as in Russian, nowhere else.

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